Early Byzantine to Gothic Art: A Survey of Key Works

Early Byzantine Art and the Reign of Justinian

The reign of the Emperor Justinian is largely considered to be the beginning of the period known as Early Byzantine Art, which is regarded as the first of the three golden ages of Byzantine art. This period ended with the onset of Iconoclasm during the reign of Leo III, spanning from 527 A.D. to 726 A.D. Justinian's reign was highly successful, characterized by his driving the Germanic Ostrogoths out of Italy, the Vandals from Africa, and the defeat of the Bulgars along the northern frontier of the Roman Empire. During his reign, active construction of churches and cathedrals began in and around Constantinople, all of which were built in a style now known as the Byzantine style.

One of the surviving art pieces from the Early Byzantine period, identified as the Barberini Ivory, depicts an emperor — likely Justinian — riding triumphantly on a rearing horse. The style represents a brief return to the pagan imagery of an earlier Roman era. The piece combines images of God and the military in a way that reinforces the idea that God approved of the emperor's actions. This imagery is supported by the placement of a figure of the Christian God accompanied by two angels, who is shown blessing the emperor as he returns from battle.

Another representative piece from the Early Byzantine period is the mosaic known as Justinian and the Attendants. Unlike the Barberini Ivory, this work depicts a markedly different Justinian — one who is presented as a kind, mild individual who blends imperial power with the sanctity of the Church in a manner that suggests unity. This image presents a world in which the Church and the state are united in their efforts, rather than as separate or sometimes warring entities, as they were so often depicted in Western art. In this respect, the piece is a harbinger of what would eventually divide the Eastern and Western Christian Church — a division rooted in part in secularism.

The Dome of the Rock and Islamic Architecture

The golden color of the Dome of the Rock is one of the identifying features of the Old City of Jerusalem. It is one of the first things one notices upon approaching the city, and it has stood in its present location since the late 7th century. The origins of its construction are heavily debated, but its significance as the location where Abraham prepared the sacrifice of his son Isaac to God holds importance for the Christian, Jewish, and Islamic faiths alike. For Muslims, it is also believed to be the location where the Prophet Muhammad ascended into the sky.

The octagonal design and central dome mark the Dome of the Rock as atypical within mosque architecture in the Muslim world. A typical mosque follows a distinctive design: it has a dome and a minaret, but the dome is not centrally located as it is in the Dome of the Rock. A typical mosque also contains a qibla wall, which advises worshipers of the direction of prayer, and a rectangular interior space. The Dome of the Rock, however, possesses none of these typical elements, which raises serious questions about how and by whom the original structure was built. Some architectural experts claim that the structure most closely resembles several Christian churches near the Dome of the Rock, giving rise to the theory that it was originally built by early Christians. Regardless of what the original function of the Dome of the Rock may have been, it has been adopted by Muslims, and due to its historical connection to Abraham and its connection to the Prophet Muhammad, it remains one of the most important structures in the modern Muslim religion.

The Gero Crucifix and the Lindau Gospel Cover

At first glance, the Gero Crucifix and the Lindau Gospel Cover appear quite similar. The two works are separated in time by only about a hundred years, yet they are remarkably different in both style and intent.

The Lindau Gospel Cover originates from the Carolingian period and is highly ornate, containing embossed gold, pearls, and other precious stones. The cover is so elaborate that it nearly tells the entire story contained within its pages. The Gero Crucifix, by contrast, is far more simplistic — constructed of wood and designed during the Ottonian art period.

Although the Lindau cover is remarkable for its ornamentation, little attention is devoted to depicting Christ on the Cross in a realistic manner. The Gero Crucifix, on the other hand, is simple in material but the artist has spent considerable effort detailing the human nature of Christ's suffering. The Gero displays a beaten man: head down, body twisted, knees bent sideways, arms hanging listless, the body sagging. The Lindau cover displays none of these features; instead, it presents a solid, upright figure showing no signs of suffering.

As noted, the two works are separated by less than a century, yet they display a compelling difference in how the Crucifixion is interpreted. The Lindau Gospel Cover is a beautiful work of art, but it tends to stand out of step with the historical image of the Crucifixion as it has been understood by Christians in subsequent centuries. The image embodied by the Gero Crucifix has become the standard representation for most Christians and has remained virtually unchanged since its introduction during the early medieval period.